Credits: Concept, Recording, Editing, Programming: Chris Hein. Interface-Design: Scott Kane, Chris Hein

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2 Credits: Concept, Recording, Editing, Programming: Chris Hein Interface-Design: Scott Kane, Chris Hein Additional Editing: Ricarda Hein (Mrs. Melodyne) Script-Programming : Günter Hirscher Produced For BestService, Munich -02-

3 Contents 04 Introduction / System Specs 05 The Interface Basics-Page General Controls 06 Basics Meters Edit-Tabs 06 Basics Articulation select Overview Body & Room Convolutions 07 Articulation-Presets Overview 08 Articulation-Presets Articulations Key-Switch Modes Copy / Paste Main controls Speed-Detection 09 Articulation-Presets Volume Control Dynamic Modes 10 Articulation-Presets Note-Head Designer 11 Articulation-Presets Transient Designer Attack Controls Noise Legato Mode / Glide Mode 12 Legato Settings Legato Details 13 Hot-Keys Hot-Keys Overview 14 Hot-Keys Key-Vibrato Hand-Damping Play Last Note Play Fall Attack Blow Empty 15 Articulation Overview 16 Settings Fader Settings Release FX Synamic 17 Settings Pitchbend Ensemble ADSR Micro-Tuner 18 Vibrato LFO-Vibrato Auto-Vibrato 19 DSP Effects Overview 20 DSP Effects Reverb Delay Chorus 21 DSP Effects Phaser Flanger Compressor 22 DSP Effects Solid G Equalizer Filter 23 Midi-CC list 27 The Producer 28 Chris Hein - Guitars 29 Chris Hein - Bass 30 The Family of Chris Hein - Horns -03-

4 Chris Hein - Solo Strings Thank you for buying Chris Hein - Solo Strings With a vast amount of samples, many articulations and up to eight dynamic layers, the instruments in CH-Solo Strings are sampled with extraordinary detail and programmed with great care. The user-interface holds tons of features on several pages to shape the sound and to adjust the playability to the way you want it. However, if you don t feel like editing, just play and explore the 26 pre-programmed Key-Switch presets ranging from A -1 to A #1 on the lower keys of your midi-keyboard. Thanks to the clever programming and intuitive user interface, the new and innovative features like Note Head Designer, Key-Vibrato or the Hot-Keys are very easy to use. One of the greates and unique features of CH-Solo Strings are the Phase-Aligned samples. After 6 months of research, we found a solution to phase-synchronize the samples. This enables an absolutely perfect blending between 6 dynamic layers. During the developement, very much attention was spent on how to work with dynamics to provide a perfectly realistic and expressive instrument. During the Phase-Align process, we had to separate the noise part from each sample, to synchronize the phase of the pure tone. As a result we got two audio files for each sample: - The original recorded sample used in the velocity sensitive dynamic mode Keyboard - The processed phase aligned sample used for the X-Fade, Key & X-Fade, Auto X-Fade I hope you like Chris Hein - Solo Strings. Have fun! Chris Hein System Specs: PC: Windows7, Intel Core Duo or AMD Athlon 64 X2, 2 GB RAM (4 GB recommended). MAC: Mac OS X 10.7 or later, Intel Core 2 Duo, 2 GB RAM (4 GB recommended). CH-Solo Strings is watermarked with your personal data and IP address using proprietary watermarking techniques Do not distribute, resell or torrent. -04-

5 Interface The Basics-Page General Controls The Edit-Pages The Small-Page is good if you have multiple instruments loaded and don t need to edit. This page has no edit features. Start playing right away and use the Key-Switch keys ranging from A-1 to A#1 to enter the 26 pre-programmed Articulation-Presets and Hot-Keys. The actual selected articulation is diplayed in white at the bottom right of the screen. You can enter the 4 edit-pages by clicking one of the edit-tabs at the bottom of each page. Show/Hide Values You can show or hide the values of the functions with the button on the top rightof each page. However, as soon as you touch a function, the value is displayed even if hide values is selected General Controls 1 Solo/Mute 2 Tune - (CC09) 3 Panorama - (CC10) 4 Volume - (CC07) 5 Level indicator Saving Changes CH-Solo Strings has many features to customize the instrument to fit you demands. To save the settings you have made, use the Files menu from the Kontakt top-menu. -05-

6 Basics Meters / Body & Room Control Click the Control button to display some of the major controls. Several meters indicate the status of the following functions: Dynamic Mode - Shows the selected dynamic mode. Change it in the articulation preset page Layer - Indicates the dynamic layer of the the last note played. Velocity - Shows the velocity of the the last note played. X-Fade - Shows the state of the X-Fade position. This graphic also works as a slider. Vibrato - Adjust the vibrato intensitiy. Vib. Speed - Adjust the vibrato speed. Body and Room CH-Solo Strings contains 40 fantastic, built-in convolution reverbs, as well as 23 very short impulse responsed to design the body of the instrument. The combination of two convolution reverbs lets you design the body and the room individually. Controls for Body and Room On/Off - Switches the Convolution Reverb on and off. Presets - Choose from 40 specially-designed Impulse Responses. Volume - Adjusts the amount of the Convolution Reverb. Delay - Sets the pre-delay time before the reverb starts. Edit-Tabs Four tabs at the bottom of the interface let you enter the edit modes. -06-

7 Articulation-Presets Overview The key-switch concept allows you to customize the instruments in every detail to suit your needs. Let s say you want to play chords with the sustain articulation and then you want to play a solo line using the legato-mode. All you have to do is copy the articulation-preset, paste it to another keyswitch preset and change the legato setting from polyphon to legato. Now, switching from polyphon to legato playing is done by just pressing one key-switch. The same process works for all other functions on this page. For example, you can assign different articulations to different keys, enabling you to change articulations on the fly. Or you can design a bunch of different settings for only the sustains, enabling you to alter the behavior of the instrument. It s important to understand that all functions on this page are valid only for the selected keyswitch. If you want to make changes for other articulations, you will have to change every articulation you plan to use. The only exception is the setting for Blending which applies for the whole instrument. The key-switch presets are located in the lower area of your keyboard, from A -1 to A #1. Key-switches are displayed in red. Hot-keys are displayed in green. There are several ways to select a key-switch preset: - Hit the keys on your keyboard. - Click the keys on the on screen keyboard in the interface. - Use the fader KS-Key or control it with an external hardware midi-controller (CC06 by default) It ś up to you to change articulations in your DAW via Midi CC or by using midi notes. You will probably spend most of your time with Chris Hein - Solo Strings in the Articulation-Presets Page. Everything you see on this Articulation-Presets Page is stored on one single Key-Switch. Each setting of the functions on this page can be different for each and every of the 26 key switch keys. The only exceptions are the Blending and Ensemble controls, which are set for the whole instrument. -07-

8 Articulation-Presets Articulations, KS-Mode, Copy/Paste, Main controls, Speed-Detection Let s start to customize your key-switch presets. The first step is to assign the KS-preset as a key-switch or as a hot-key. Key-Switches hold different articulations to be played on your keyb Hot-Keys are special keys that don t change the overall articulation, but can add aditional effects like playing key-based vibrato, or work as repetition keys. Let s call these guys KS and HK. Articulations Lets start building a key-switch preset. Select an articulation from the drop down menu on top of the keyboard graphics to be assigned to the selected KS-preset. Click the Overview button to see and edit an overview of all loaded articulation-presets and Hot-Keys. KS-Key lets you change the key-switch presets via MIDI-CC. (CC06 by default) Right click to assign any CC and use a hardware fader to control the articulations. Key-Switch Modes There are three different key-switch options to choose from, which determine exactly when and how the articulation change takes effect: KS-Permanent: The articulation remains active until another key-switch is pressed. KS-While Hold: The articulation changes only for as long as the key-switch is held and reverts to the previous articulation as soon as the key-switch is released. KS-Next Note: The articulation changes only for the note following after the key-switch and then reverts to the previous articulation. Copy - Paste You can copy and paste a whole KS-Preset. This is useful if you want a variation of an existing preset on another key to instantly switch between them. Main Controls Volume sets the volume for each KS-preset individually. To adjust the global volume, use the volume slider at the top right of the interface. Pan lets you pan each KS-presets individually from left to right. Transpose lets you transpose the preset (36 semitones maximum) up or down. Speed sets the overall speed of the selected articulation. Changing the speed of the samples is useful for articulations such as Dynamic Expression or Trill. But changing the speed for the sustains can also yield some interesting effects. Click the little red dot to activate the speed-change. Since variable speed needs a lot more RAM, you should activate time only when you need it. The speed change is only available if the dynamic mode is set to Keyboard Ensemble: You can setup a group of String players here. Ensemble is a global parameter which affects all articulation presets. Voices: Select 1-5 instruments to play. Spread: Sets the Stereo-Spread of the harmonized Sound Detune: De-tunes the harmonized sounds in cents. -08-

9 Articulation-Presets Volume Control / Dynamic Modes Dynamic: Usually the dynamic of an instrument is just controlled only by the velocity of your midi keyboard. CH-Solo Strings offers different options to control the dynamic.the details on the next page may sound a bit technical, but don t hesitate to just experiment with the settings. The buttons at the left side let you switch between the four different dynamic-modes. Keyboard - The articulations in CH-Solo Strings have 3-8 dynamic layers. When set to Keyboard these layers are available through the velocity of your midi keyboard. The actual played dynamic layer and the midi velocity are displayed as numbers from 1-8. X-Fade - When this is selected, the velocity is controlled via midi Control Change (CC11, Expression, by default). You can also use any other controller by changing the X-Fade CC. Setting the controller to zero plays the lowest velocity layer, moving the controller up fades between the velocity layers, while increasing the value crossfades between the velocity layers until the highest value of 127 is reached. Key & X-Fade - This is a combination of Keyboard dynamic and X-Fade. Velocity is controlled via keyboard velocity, but you can also use Expression (CC11) to crossfade between the velocity layers. Key & XFade works in an intelligent way. Let s say you play a note at velocity 100, then you increase Expression (CC11), starting from zero. No change is audible until the controller reaches value 100. From here, Expression takes control of the velocity and lets you change the dynamic even after the note is pressed. Key & XFade is perfect for playing realistic crescendos and decrescendos. Auto X-Fade - This performs an automatic volume curve relative to the played velocity. When Auto X-Fade is selected, the automatic volume curve starts at the velocity played on the midikeyboard, performing a volume change depending on the settings in the table. You can draw your own volume curve in the table. To edit the curve in more detail, click the Edit button to enter a fairly big table. The length of the Auto X-Fade curve can be adjusted with the Lengths fader -09-

10 Articulation-Presets Note-Head Designer Note Head Designer: This is a unique function which you probably haven t seen in any other virtual instrument before. Note Head lets you vary the attack and release shape of the sound in a fantastic new and flexibel way. Activate the Note-Head Designer with the switch on the left side. Use a Midi-Controller (CC2 by default) to control the Note-Heads, or use the fader in the interface. Setting the controller to zero playes the original articulation, as displayed on top of the interface. Moving the controller up lets you switch through 12 different variations of the note-head. These variations are short notes, recorded in 12 different length, each with 8 dynamic layers. Short1 has a length of more than a second, as you move up, the Note-Heads get shorter, until Spicc6, which is an ectremly short Spiccato.. When playing lines like Baa dap, a sequence of short and long notes, you would usually use the sustained articulation and just stop the note. However, it makes a huge difference if the ending of a short note is a real recording ending, or just a stopped sustained note. Stack offers a second function of the Note-Head is. When this is checked, the short notes are layered wth the original articulation. Thanks to the phase-aligned samples, the blending is very smooth. Click the edit page to edit the fade times in detail. Note Head Edit When Stack is selected, the Note Heads blend into the original articulation. You can edit the behavior of the blendings in detail on this page. Copy these settings and paste them to another articulation. Head Volume Adjudts the general volume of the Note Head. Fade Out sets the fade out time, the actual blending time of the Note Head. Out Delay Sets a delay before the fade out of the Note Head starts. Fade In sets the fade in time, the actual blending time of the original articulation. In Delay sets a delay before the fade in of the original arti- -10-

11 Articulation-Presets Transient Designer, Glide-Mode, Glide-Mode Slur The Transient Designer is a compressor designed to control the attack and sustain of a sound. Instead of following the amplitude of the sound like a traditional compressor, it follows the general envelope and is thus not as susceptible to changes of input gain. Attack controls the scaling of the attack portion of the input signal s volume envelope. Increasing this parameter will add more punch and decreasing it will reduce sharp attacks. Sustain controls the scaling of the sustain portion of the input signal s volume envelope. Increasing this parameter will add more body to the sound and decreasing it will reduce the sound s tail. Glide-Mode While Legato performs a smooth crossfade between the notes, Glide-Mode plays the notes within the interval you played. Let s say you play the note C4, hold it and play E4 with Glide- Mode on. First you hear the note C4, and as soon as you press E4, the notes C#4, D4 and D#4 are played and the run ends on E4. Glide-Mode works up to 12 semitones up or down. The performed run can eihter be chromatic, a major minor or pentatonic scale. With the steps fader, you can assign the amount of notes to be played from 1, which is a halftone step, up to 12 which performed an octave up or down. The target articulation can be assigned differently from the basic articulation. This is great to play effects like a rip when e.g. choosing a short articulation as the target note. Legato / Pedal / Glide-Mode Controls Polyphon lets you play polphonic chords, no legato transition is audible. Legato lets you play monophonic lines with a legato transition. Speed controls the length of the legato transition. Legato Long performes a smooth portamento with varialble speed. Speed controls the length of the portamento transition. Offset controls the starting point of the portamento transition. Glide-Mode provides real played runs from one note to another. Glide Speed sets the speed of the Glide-Mode transition. Steps sets the maximum halftone steps to be played. Scale choose from chromatic, major, different minor or pentatonic scales. Key sets the root key of the scale Target sets the articulation to be sound when the run is over Pedal If you have a sustain pedal connected to your midi keyboard, the legato settings allow you to change the function of the pedal. If set to Polyphon the pedal acts as a regular hold pedal If no pedal is connected, you can use CC 64 to switch between Polyphon, Legato, Legato Long or Glide-Mode. Glide-Mode Slur Although the Glide-Mode plays a real recorded chromatic run, it might sound better to slur the single steps of the scale run a little bit. These controls let you blend between the single notes of the scale. Starting Note Fade out Sets a fade out time before the scale begins Scale Note Fade in/out Blends between the single notes of the scale Target note fade in lets Sets a fade out for the last not of the scale -11

12 Legato Settings Legato Mode, Legato Details Legato Mode When playing a note, holding it and playing another note, the Legato performs a smooth transition between the two notes. CH-Violin uses an intelligent combination of two different real recorded note-transitions and one artificial legato engine which additionally performes a smooth blending and pitch change. We recorded note-transitions at 2 different speeds with 2 dynamic layers for each transition. Every note transition from a halftone to an octave up and down has been recorded. Legato performs a natural note transition, while Legato Long offers a long portamento. By default the Long Legato is assigned to the sustain pedal. So, simply pressing the sustain pedal while playing ovelapping notes, performs smooth slide from on note to the other. Speed lets you adjust the length of the portamento. Offset lets you adjust the starting point of the portamento. The combination of Speed and Offset offers a wide range of different portamento transitions. A real string player often does not slide from one note to the other. When e.g. playing an octave, he would place his finger on the next string, jumping to e.g. a fifth and slides from there to the octace. The Offset fader lets you simulate this behavior. Also small interval grace-notes like a whole or halftones are possible. You can edit the behavior of the Legato transition in detail in the Legato-Settings Page. by clicking the Edit button. Activate legato playing in the Articulation Preset page. Clicking the little icon brings you to the Legato Settings page to edit the details. Legato Details The settings for the True Legato Transitions are perfectly set by default. Actually there is no need to change something here except the volume. Be careful with the True-Legato edits. changes may result in an urealistic behavior of the legato transtion. While Legato mode is activated, you still can play polyphonic. All notes played within a certain time range are recognizes as a chord. You cann set the chord detection time in the Legato Edit page in ms. There are separate controls for volume-fade in/out and for tune-fade in/out: Fade Out Offset (ms) Sets the time before the fade starts. Fade Out Length (ms) Sets the length of the fade out. Tune Out Offset (ms) Sets the time before the detuning starts. Tune Out Length (ms) Sets the length of the detuning. Tune (c) Sets the amount of detuning in cents. Slope Spreads the legato time. A higher value results in a shorter legato while playing small intervals like a semitone, and a longer legato when playing larger intervals, like an octave. -12-

13 Articulation-Presets Hot-Keys The Hot-Keys are special keys which are used to trigger different effects and articulations. Each of the 26 keys from A -1 to A #1 can be defined as a Key-Switch or as a Hot-Key Preset. To assign a Hot-Key to a key on your midi keyboard, select one of the Hot-Key function from the articulation drop down menu. You can also set a Hot-Key to Repeat Last Note, which will literally retrigger the last note you played. This is particularly useful for playing fast, legato repetitions which would otherwise not be possible by simply re-playing the same note repeatedly. In addition to repeating or retriggering the previous note played, hotkeys can also be used to modify the note currently playing. For example, a hotkey can be assigned to trigger a fall, which will stop the note and play a realistic fall. -13-

14 Articulation-Presets Hot-Keys The following functions are available through the Hot-Keys: Repeat last note: This Hot-Key simply repeates the last note you have played. This is great for fast repititions. No special controls are needed for this effect. Key-Vibrato Up/Down: Rather than playing a static vibrato with the modwheel, this enables you to perform the vibrato manually on a key of your midi keyboard. You can choose between Vibrato Up or Vibrato Down, which affects volume, pitch and EQ of the note being heard. A real vibrato, performed by a harmonica instrumentalist, consists of a change in volume and pitch and a frequency change. You can edit all these parameters separately. Play Repetition: Pressing this Hot-Key while holding a note activates the repetition articulation. The speed can be adjusted. 100% means 100 BPM, 200% plays the repetition at 200bpm. Play Trill: Pressing this Hot-Key while a note is being played, blends into the Trill articulation Minor Trill plays a haltone, major trill triggers a whole tone. Releasing the hot-key while still holding the right hand note, switches back to the original articulation. This is great to throw in some ornaments on the fly. Play Tremolo / Ponticello Tremolo: Pressing this Hot-Key while holding a note activates the Tremolo or Ponticello Tremolo articulation. The speed can be adjusted. Play Fall / Doit: Pressing the Fall Hot-Key while a note is being played, stops the sustain note and adds a real played fall down of the note. Doit smears the note up with a slide on the string. Play Slide Up / Slide Down: Same as Fall, but plays a pretty long slide up or down. -14-

15 Articulation Overview A list of all selected articulations and Hot-Keys is avalable through the Articulation Overview tab. You can select from different articulations in the drop down menu and you can define if the preset should be a Key-Switch (KS) or a Hot-Key (HK). However, define the details of the selected articulation in the Articulation-Presets page. The Articulation Overview page is also handy to unload articulations which you don t need. If you only need one or a few articulations, setting the unneeded preset to Empty saves a lot of RAM. All features in the CH-Violin which require RAM have an on/off switch. Switching features you don t need to off can save you a lot of worthy computer performance. -15-

16 Settings / DSP FX Fader Setting, Release-EFX, Dynamic The functions on the Sound-EFX page work as global parameters for all articulation presets. Use the buttons in the headline to switch between Settings and DSP-FX. Fader Setting: Adjust the behavior of your mouse with these controls Most faders in CH-Harmonica are horizontally, but if you prefer to control them with a vertical movement of your mouse, you can switch to Vertical. You can also adjust the length of the mouse movement. Check which settings works best for you. Release EFX: The Release EFX work on the release of a note. Play a note, raise the knob and release the note at any time to hear the selected effect. Rel1 - Adds a natural release sound. Volume - sets the volume of the release sample Density - sets the amount of release-samples being played. Setting density to 100% means all notes have a release sample. Setting it to 50% means, every second note is played with a release sample. Round Robin: Round robin alters the notes automatically. -16-

17 Sound EFX Pitchbend, Ensemble, ADSR, Micro-Tuner Pitchbend: You can assign the Pitchbend range separately for Bend Up and Bend Down from 1 to 12 semitones. Dynamic: Lets you control the Velocity Response of your midi keyboard. Curve - Sets the curve for the Velocity Response. Setting the curve to 0 results in a linear response. Min - Sets the Minimum velocity. ADSR: Attack - Sets the Fade In time for the sound. Decay - Sets the time until the Sustain level is reached. Sustain - Sets the level maintained from the end of the Decay stage to the start of the Release stage. Release - Sets the Fade Out time after releasing the key. Micro-Tuner: All samples in CH-Violin are perfectly tuned to the standard chromatic scale with A at 440Hz. However, real players usually don t play perfectly in tune. You can edit the tuning in precise detail using the Micro-Tuner. You can create your own tuning scales by shifting the tuning of each note up or down, or you can use one of the pre-programmed tuning scales based on some of the most famous historical scales. Tuning Presets: 12 Micro-Tuning preset scales are available. You can build your own tuning scales or use the preprogrammed scales and edit them in order to create your own scales. In addition to the Micro- Tuning scales, you can fine tune each instrument in its channel strip in the Mixer Page. Key: Sets the root key of the scale. Amount: Scales the overall amount of detuning. Other Tuning Methods: A Master tuning knob for all instruments is available in the header of the virtual instrument on the Play-Page. Hold down the shift key (of your computer keyboard) while turning the on-screen knob for fine-tuning. -17-

18 Vibrato LFO-Vibrato / Auto-Vibrato Two types of Vibrato are available in CH-Violin. Choose between manual LFO-Vibrato, and Auto-Vibrato. The vibrato type can be set individually for each articulation preset. Vibrato: These are the controls for the intelligent LFO-based Vibrato available through CC01 (Modwheel). You can Change the CC from 1 to any other CC. The following controls are available for LFO-Vibrato: Vibrato - Sets the amount of vibrato. CC - Sets the midi controller to control the vibrato. (CC1 - Modwheel by default) Speed - Sets the speed of the volume and pitch change. Volume - Sets the volume of the vibrato. Tune - Sets the degree of pitch change. Setting tune to 0 performs a tremolo. EQ - Activates a filter to simulate a realistic hand-damping. Works best in combination with Volume and Tune. EQ Frequency - Sets the frequency for the filter. EQ Bandwidth - Sets the bandwidth of the filter frequency. Wave - choose from different waveforms to set the vibrato curve. Auto - Vibrato: performes an automatic vibrato curve. Instead of using the Modwheel, you can draw different curves to set the development of the vibrato over time. The following controls are available for Auto-Vibrato: Preset - Choose from different pre-programmed curves Speed - Sets the speed over time. Volume - Sets the volume curve over time. Tune - Sets the amount of detuning over time. EQ - Sets the amount of filtering over time. Copy - Copy the curve to paste it into another table Paste - inserts a copied curve Clear - Resets the curve to a clear table Vibrato can also be controlled via the innovative Hot-Key Vibrato (See page 13/14) -18-

19 DSP Effects. -19-

20 DSP Effects Reverb, Delay, Chorus Reverb Preset: Different pre-programmed effects. Volume: Level of the reverb effect. Pre-Delay: Introduces a short delay between the direct signal and the reverb trail build-up. This corresponds to the natural reverberation behavior of large rooms, where a short time elapses before the first reflection of a sound wave returns from a wall. Size: Adjusts the size of the simulated room. This affects the duration of the reverb trail. Damping: Sets the amount of simulated absorption that takes place in rooms due to furnishings, people, or acoustic treatments affecting the reflection behavior. Delay Preset: Different pre-programmed effects. Volume: Level of the delay effect. Time: The delay time in milliseconds. To synchronize the time to your host or Master Editor tempo, click on the Speed parameter s unit display and choose a note length value from the drop-down list. Feedback: Controls the amount of the output signal that s being fed back into the input of the delay line, thereby creating a series of echoes that gradually fade into silence. Damping: Attenuates high frequencies in the delayed signal. Turning this control clockwise will increase the damping effect. If you have set a feedback level, the signal will gradually lose more high frequency content with each repetition. Chorus Preset - Different pre-programmed effects. Volume - Level of the chorus effect. Depth: Adjusts the range of modulated detuning. Higher values give a more pronounced chorusing effect. Speed: Adjusts the LFO speed. To synchronize the speed to your host or Master Editor tempo, click on the Speed parameter s unit display and choose a note length value from the drop-down list. Phase: Imparts an LFO phase difference between the left and the right stereo channel. This can considerably increase the width of the output signal s stereo base. -20-

21 DSP Effects Phaser, Flanger, Compressor Phaser Preset: Different pre-programmed effects. Volume: Level of the phaser effect. Depth: The amount of LFO modulation. Higher values cause the phaser effect to sweep over a wider frequency range. Speed: The LFO modulation speed. To synchronize the speed to your host or Master Editor tempo, click on the Speed control s unit display and choose a note length value from the drop-down list. Feedback: This control adjusts the emphasis of the peaks and notches that the comb filter effect imparts on the signal. Flanger Preset: Different pre-programmed effects. Volume: Level of the flanger effect Depth: The amount of LFO modulation. Higher values cause the flanging effect to sweep over a wider range. Speed: The LFO speed. To synchronize the speed to your host or Master Editor tempo, click on the Speed parameter s unit display and choose a note length value from the drop-down list. Feedback: Feeds a certain amount of the delayed signal back into the module s input, thereby creating a more pronounced effect. Compressor Preset - Different pre-programmed effects. Volume - Gain of the compressed signal. Threshold - Sets a level threshold above which the Compressor starts working. Only levels that rise above this threshold will be reduced by the compression; signals that stay below it will be left unprocessed. Attack - Adjusts the time the Compressor will take to reach the full Ratio value after an input signal exceeds the Threshold level. Ratio - Controls the amount of compression, expressed as a ratio of input level change against output level change. A Ratio of 1:1 means that no compression will be happening. For example, a setting of 4 represents the ratio 4:1, which means for every 4 decibel increase of amplitude above the threshold, the output will increase by only 1 decibel. Release - Adjusts the time the compressor will take to fall back to noncompression after the input signal falls below the threshold. -21-

22 DSP-Effects Solid G Equalizer, Filter Solid G Equalizer The Solid G-EQ is a 4-band parametric EQ and offers the choice of bell or shelf style control of the low and high frequency bands. LF Gain: Adjusts the amount of boost or cut at the LF Frequency. LF Freq: Adjusts the center frequency of the low frequency band at which the boost or cut will occur. LF Bell: Toggles the bell shape of the low frequency band. If turned off, the band becomes a shelf. LMF Gain: Adjusts the amount of boost or cut at the LMF Frequency. LMF Freq: Adjusts the center frequency of the low-mid frequency band at which the boost or cut will occur. LMF Q: Controls the Quality (or Q) of the low-mid frequency band. For most EQs, the higher the quality, the narrower the frequency band, but with this EQ the control is reversed to match the hardware it emulates and becomes a bandwidth control. HMF Gain: Adjusts the amount of boost or cut at the HMF Frequency. HMF Freq: Adjusts the center frequency of the high-mid frequency band at which the boost or cut will occur. HMF Q: Controls the Quality (or Q) of the high-mid frequency band. For most EQs, the higher the quality, the narrower the frequency band, but with this EQ the control is reversed to match the hardware it emulates and becomes a bandwidth control. HF Gain: Adjusts the amount of boost or cut at the HF Frequency. HF Freq: Adjusts the center frequency of the high frequency band at which the boost or cut will occur. HF Bell: Toggles the bell shape of the high frequency band. If turned off the band becomes a shelf. Filter A high class filter can be used to limit the frequency of the sound. when a harmonica player uses his hand to shape the sound, its actually the same effect. The high frequencies are lowered in volume. To achieve this effects you can use the Hand-Damping Hot-Key or use the filter. The following controls are avalable: Gain: Adjusts the volume of the filter effect. Cutoff: Sets the frequency. Resonace: Sets the bandwidth of the filter effect. Type: Choose from different colors of the filter. -22-

23 MIDI-CC List of pre-programmed midi controller The instrument named MIDI CC has pre-assigned MIDI CCs to completely remote control the instrument. The following controls are used internally by the script and should NOT be used with CH-Violin: 16,17,18,19,20,21,22,24,25,26,27,30,34,35,36,112,113,114,117,118, 120,121,122,123,124,125,126,127 General Controls 06 Key-Switch Select 07 Global Volume 10 Global Pan 09 Global Tune 70 ArticulationVolume 71 Articulation Pan 72 Articulation Transpose 73 Articulation Time On/Off 74 Articulation Time Live controls 02 Note Head Selector 116 Note Head On/Off 03 Note Head Stack 05 Note Head Keyboard / X-Fade 80 Transient Designer On/Off 81 Transient Designer Attack 82 Transient Designer Sustain Dynamic Modes 11 X-Fade Amount 31 Dynamic Mode Keyboard 32 Dynamic Mode X-Fade 37 Dynamic Mode Key & X-Fade 38 Dynamic Mode Auto X-Fade Artificial-Legato: 51 Artificial Legato On/Off True-Legato Short: 58 True Legato Short On/Off 59 True Legato Short Volume 60 True Legato Short Speed True-Legato Long: 54 True Legato Long On/Off 55 True Legato Long Volume 56 True Legato Long Speed 57 True Legato Long Offset Glide-Mode 115 Legato Glide Speed 90 Legato Max. Steps 91 Pedal Glide Speed 92 Pedal Max. Steps 104 Glide Slur Starting Note Fade Out 12 Glide Slur Scale Note Fade In 33 Glide Slur Scale Note Fade Out 89 Glide Slur Target Note Fade In Sound EFX 48 Sordino On/Off 49 Sordino Frequency 50 Round Robin On/Off Blending 95 Tremolo On/Off 96 Tremolo Volume 97 Trill 1 On/Off 98 Trill 1 Volume 93 Trill 2 On/Off 94 Trill 2 Volume Release 100 Release1 On/Off 101 Release1 Volume ADSR 109 Attack 110 Decay 111 Sustain 108 Release Dynamic 76 Curve 77 Minimum 78 Maximum Ensemble 13 Ensemble Maker Voices 14 Ensemble Maker Spread 15 Ensemble Maker Detune LFO Vibrato 01 Vibrato Amount 65 Vibrato Speed 66 Vibrato Volume 67 Vibrato Tune 68 Vibrato EQ Volume 69 Vibrato EQ Frequency 75 Vibrato EQ Bandw. Convolution Reverb 46 Body On/Off 40 Body Volume 41 Body Delay 42 Room On/Off 43 Room Volume 44 Room Delay 39 Polyphon / Legato Chord Detection Time -23-

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27 Chris Hein Recording / Programming Chris Hein has over 30 years of experience with sound samples. By 1986 he had already produced the legendary Studio-Sample series for Metra-Sound. In 1985 he was one of the first computer pioneers, to use the Commodore C-64 for computer music. His work for Emagic (the C-Lab application) at the Frankfurt Music Exhibition set the course for his successful work as a sound-arranger. With the SX-64, the world s first laptop, he traveled to various music studios in Europe. From Atari to Mac, he eventually settled down with the foundation of Hine-Studio and created innumerable sounds for CD-Productions, Film & TV music, industrial shows and musicals. The focus of his work has always concentrated on the reproduction of real orchestras with virtual instruments. The contract musicals A World for Deinhard (1994) and the great horse-musical productions The Enchanted Forrest (1996), Goa (2000) and Sudakan (2010) consist exclusively of sample sounds. Today his studio contains an impressive collection of 22 samplers of various types. In 1997 Chris Hein established the Film & Media production company: Wizard Media GmbH

28 More from Chris Hein Chris Hein - Orchestral Brass Complete 9 deep sampled Orchestral Brass instruments 3 x Trumpets, 3 x Trombones, 3 x French-Horns Samples 14 Articulations 12 GB content Up To 8 Dynamic Layers Phase-Aligned samples Chris Hein - Orchestral Brass Compact The compact version features identical solo and ensemble instruments from the full version of Chris Hein Orchestral Brass. Chris Hein - Orchestral Winds Complete is a collection of 13 deeply samples orchestral Woodwinds. With approx samples per instrument, 14 articulations, up to 8 dynamic-layers and a highly customizable user interface, the instruments in CH-Winds are definitely the most detailed sampled orchestral Woodwinds on the planet. Chris Hein - Orchestral Winds Compact The light version of CH-Orchestral Winds Complete. All 13 instruments with an easy to use, single page interface. Updated, expabded and revised, the 5 most important articulations feature true-legato, phase aligned samples and the full dynamic range of up to 8 dynamic layers. Chris Hein - Chromatic Harmonica With almost samples 14 articulations, up to 8 dynamic-layers and a full range of 4 octaves, CH-Harmonica is definitely the most detailed sampled Chromatic Harmonica on the planet. The user-interface holds tons of features on several pages to shape the sound exactly the way you want it.to achieve the feeling of a live performance, the user interface offers 4 Dynamic Modes, Key-Vibrato, Hot-Keys and a revolutionary new concept of articulation presets.

29 Chris Hein - Horns Complete With 53 Solo-Instruments and 32 Section-instruments, with a total of approx samples and 50 GB content, Chris Hein - Horns is the worlds largest collection of Brass & Woodwind instruments, dedicated to Big-Band, Jazz, Pop & Funk, but also usable to spice up your orchestral tracks. CHH Vol.1 - Vol.4 contain different groups of instruments perfectly matching each other. All instruments follow the same concept, so, if you know one, you know them all. Each volume contains solo-instruments as well as section combinations. Chris Hein - Horns Compact is a powerful Brass & Woodwind library including 53 Solo-Instruments and six synth-brass instruments. Each of the Solo Instruments has six velocities for the sustained notes and five different articulations available via Hot-Keys. No key-switching is required to access different articulations and playing-techniques. The main window shows an eight channel mixer which makes it easy to combine the Solo Instruments to powerful sections. Create your own combinations of instruments, play them all together or build your own live-setup with separate sections in different keyboard zones. All in one single instrument, for an incredible low price. Chris Hein - Guitars E-Guitar, Jazz-Guitar, Steel-String guitar, Nylon Guitar, Banjo & Mandolin Thousends of samples, many articulations and dynamics all in one preset per instrument. With about samples and 18 GB content, its the largest available guitar collection. Thanks to Native Instruments genius script feature, Chris Hein - Guitar is easy to control. Chris Hein - Bass E-Bass fingered, E-Bass Slapped, Fretless Bass, Upright-Steel String, Upright Nylon-String, Upright Gut-String. Thousands of samples, many articulations and dynamics all in one preset per instrument. With about samples and 12,7 GB content, CHB is the largest available bass-library. Thanks to Native Instrument s genius script feature, Chris Hein - Bass is easy to control. -27-

30 The Family of Chris Hein - Horns CHH Vol.1 - XL-Solo Instruments 4 very deeply sampled Solo-instruments with up to 44 articulations and up to 20 velocities. Approximately 4,000 samples per instrument Alto Sax Solo, Tenor Sax Solo, Trumpet Solo, Trombone Solo, Trumpet Section CHH Vol.2 - Brass & Woodwind 3 x Alto Sax, 2 x Tenor Sax, 2 x Baritone Sax, 4 x Trumpet, 4 x Trombone, 2 x Bass Trombone, 3 x Sax Section, 3 x Trumpet Section, 3 x Trombone Section CHH Vol.3 - Muted Brass 8 x Muted Trumpet, 8 x Muted Trombone, 7 x Trumpet Section, 5 x Trombone Section CHH Vol.4 - More Brass & Woodwinds Soprano Sax, Bass Sax, Contra Bass Sax, Clarinets, Bass Clarinet, Fluegelhorn, Euphonium, Tuba All instruments are available as a complete bundle, single volumes or as individual downloadable instruments. Check for details. As owner of any CHH version, you are eligible to upgrade to CHH-Complete for a special price. Send an to hein@wizardmedia.de for more info -28-

31 Please Do Not Copy! The Sounds and Samples of Chris Hein - Solo Violin are licensed, not sold to you for use in your music & media production only. All copying, lending, duplicating, reselling or trading of this product or its content, in any form, is strictly prohibited. Please respect this agreement and do not copy. Chris Hein - Solo Violin 2016 Wizard Media, All rights reserved